Psycho And The Orchestration Of Anxiety Summary

Alfred Hitchcock’s 1960 thriller Psycho is commonly referred to as a cinematic masterpiece, with its chilling cinematography and thrilling storyline. However, the music and sound in Psycho can be easily overlooked in comparison to its visual aesthetics. The article “Psycho and the Orchestration of Anxiety” by Stephen Deutsch focuses on the film’s iconic soundtrack and the stylistic, emotional, and storytelling role that it plays. Deutsch credits the sound’s stylistic influence to television dramas of the 1950s. Television dramas were incredibly popular in the early age of household television, beginning in the late 40s and becoming commonplace by the mid 50s. These dramas were typically filmed and broadcasted live, and had created their own stylistic characteristics in terms of both visual and sound. Sound was most commonly produced by the actors themselves during taping, with little effects being added unnaturally. Hitchcock was involved in the television world before the creation of Psycho, and it can be assumed that he took the methods that he learned while in the industry to his films as well. Hitchcock has been quoted saying that

Studies back up this theory, with results in audience testing showing increased heart rates, blood temperature, and blood pressure when exposed to frightening or intense music. Additionally, music with a normal, distinct rhythm is normally interpreted as non-threatening, and makes the audiences feel safe. On the other hand, music with irregular rhythms are commonly responsible for creating the audience’s tense and uneasy feelings. In Psycho specifically, Deutsch believes the emotions of the audience are primarily geared towards Marion and her escape, that they are unaware of the dangers that lay ahead for her at the Bates